Thursday, November 21, 2013

I think we all remember a time when some precocious teenager
raised their hand in most likely middle school, and asked the question that
teachers hate most: “Why are we doing this?How on earth can this possibly be useful to me in the future?”

Well, no matter how much a teacher may hate the question,
it’s absolutely the most important one.Often times students will have to answer that for themselves – even if
a teacher gives an answer honestly from their point of view, it may not prove
inspiring to the student.The “Why?”
question, in any case, can be a challenge for both teacher and student, but
it really should be the most important one.

Being able to teach at Freehold and Cornish while
simultaneously rehearsing the role of Dr. Watson in Seattle Rep’s production The Hound of the Baskervilleshas often
had me asking the same questions many of my students have.In the morning or in Freehold's Step I-Intro to Acting
class, I might lead students through an immersive exercise aimed toward allowing
students to experience fictional circumstances with their full physical and
imaginary engagement. Immediately after that I then go straight to rehearsal for a professional
production of a plot-driven language play where there’s zero time for such
long-form open experimentation. Even if there were time for such experimentation, plays move much more
quickly so languishing in circumstances would ruin the rhythm and
suspense.So, then what’s the use of
this training on the professional platform?

It’s as important to ask it of myself as it is for my
students to ask it of me.Like Trofimov
in Chekhov’s The Cherry Orchard, “I
expect I shall be an eternal student” because constant questioning and learning
is the deal when you’re doing any kind of experimentation.So what good are the hours and hours I spent
in my own training going on imaginary trips to a professional production (to say nothing of a
plot-driven Mystery that is at its core a Melodrama, as opposed to the Naturalism
that evoked this kind of training)?

Well the answer for me, for now, is steadily arriving in
surprising moments of engagement with what’s before me in the moments of
rehearsal and performance. Because of this training, openness and vulnerability
is not what I do up there, it’s an
aspect of what I bring to the table once
I know The Show.Is there the risk
of responding to something completely truthfully and the fact is that it isn’t
useful, or worse indulgent?You bet
there is. There’s an even bigger risk of it when one “lets go” and “immerses
oneself” before the show has been set.But
the kind of work we’ve been doing in Step I: Intro to Acting and Junior Acting at Cornish makes
it possible to turn on and turn off the mode of believing in, and being
genuinely surprised by, the fiction (regardless of genre).

This is because the immersive exercise, while often long,
ends.It is as bracketed as it is
intense, and one cannot learn to come out of it unless one has first learned
how to drop into it.Once you get that,
you have a choice – and a chance to allow audiences to enjoy your genuine
responses and surprises.One cannot be
doing an exercise in the ‘standard professional rehearsal’, and one cannot “drop
in” with the imagination until the nuts and bolts of The Show are completely
second-nature.

But, perhaps, one night
when the character, lines, blocking, relationships, off-stage traffic patterns
and such are all in there so completely ingrained, trusted, and known, The Show
will be The Exercise.

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Andrew McGinn will be teaching Step I: Intro to Acting at Freehold this coming Winter Quarter. Registration is now open and more information on Andrew's Freehold Intro to Acting class can be found here.

Photo top: Andrew McGinn

Photo right: Freehold Faculty Members Darragh Kennan and Andrew McGinn in the Seattle Repertory's production of The Hound of the Baskervilles running through December 15th.

Freehold’s
highly acclaimed Winter Acting, Improv, Voice classes (and more!) are
now open for registration at Freehold Theatre in Seattle. Freehold
Theatre is a Seattle acting studio and theatre that for 22 years has
been providing extraordinary theatre and fantastic classes taught by
exceptional faculty. Be sure and sign up now as our classes fill
quickly!

We are privileged to have highly acclaimed artists as faculty including Marya Sea Kaminski (Electra, Seattle Shakespeare Company; My Name is Rachel Corrie, Seattle Repertory Theatre), (The Hound of the Baskervilles, Seattle Repertory Theatre), Andrew McGinn (The Hound of the Bakervilles, Seattle Repertory Theatre), Sarah Harlett (Middleton at ACT), Elizabeth Heffron (playwright for Bo-Nita at the Seattle Repertory Theatre) and many more.

We offer classes for the beginner as well as the advanced trained student. There is truly something for everyone!